From progreport.com on Angel Dream:

The past nine months have been a musical gift for Tom Petty fans. His family, producers and fellow Heartbreakers have culled through virtually everything from the Wildflowers era to release an embarrassing amount of amazing music. Last fall gave us Wildflowers & All the Rest, a multi-volume set of bonus tracks, demos and live cuts. Earlier this year, we got Finding Wildflowers, a collection of alternate takes that would’ve been an amazing, complete album in its own right. This week, the final (?) drop from the best era of Petty’s musical life hits stores. Angel Dream (Songs and Music from the Motion Picture She’s The One) is billed as a “reimagined version” of the Ed Burns film that Petty scored in 1996, but the end product is a more cogent Petty album, instead of a loose collection of songs supporting a movie.

Before diving into the music, a word on the movie: don’t. Having not watched She’s the One, at least not in full, 25 years ago, I took it upon myself to check it out in the process of writing this review. It has…not aged well. As far as this new album goes, the project was intended to be much more “spontaneous,” according to Petty, and simpler than the lengthy recording process for most of Wildflowers. The Heartbreakers themselves (Mike Campbell, Benmont Tench, Howie Epstein and Stan Lynch, splitting time on drums with session player Curt Bisquera) provide the bulk of the music. Several of the soundtrack’s original songs were included on the All the Rest release (Petty wrote a number of these tunes during the Wildflowers process, and, really, has any rock artist ever had such a beautifully productive period?). The decision was made to swap out those songs (including “California” and “Hope You Never”) for four previously unreleased tracks, so we’ll look at three of these first. “One of Life’s Little Mysteries” is a Heartbreakers jaunt through bummers both big and small – “You get a little sun/You get a little rain/Get a man and a woman/You get a little pain.” Written in 1992, it presages Alanis Morissette’s “Ironic,” but, you know, better.

The next new track on Angel Dream is a cover of J.J. Cale’s “Thirteen Days,” recalling the shaggy adventures of a barnstorming band in the South. This version finds Petty at his Dylan-esque vocal best and wraps with an outro featuring both Campbell and Tench. The underground 60s rock feel continues on the next (and third new) song, “105 Degrees.” This Petty original carries a surfer-ish guitar riff, a boatland of organ from Tench, and an overheated Petty asking, “What do you want…perfection?”

Although he was known to tear up some classics in concert (“So You Want to Be a Rock ‘n’ Roll Star” and “Oh Well” were two of his crowd favorite covers), he didn’t record a whole lot of them in studio. However, in addition to “Thirteen Days,” Petty covered two of his (at the time) contemporaries on Angel Dream. His version of Beck’s “Assh@le” (with Lindsey Buckingham chipping in on backing vocals) gives the spare, acoustic strummer a Beatles-esque finish while maintaining the song’s pensive malaise. On “Change the Locks,” though, Petty dials up Lucinda Williams’ already-at-a-10 bitterness to at least 12 as he spits out roughly 50 more ways to leave your lover (and even throws in his own new one – “You can’t hear me laugh/And honey, I’m laughin’ all the time” – just for spite). Driven by slash-and-burn guitars, it’s an absolute house-on-fire rendition of one of Lucinda’s best songs. And it feels just a wee bit more personal than a cover on a soundtrack.

As troubled as this period in his life was, though, Petty made some damn pretty music in the early 90s. “Angel Dream (No. 2)” is a sweet tune about the one who DIDN’T get away – “I can only thank God it was not too late” – featuring gorgeous harmonies (also sung by Petty). “Walls (No. 3)” is a mellow version of the most well-known song from the soundtrack with a line that will remind you of the best person you know – “‘Cause you got a heart so big/It could crush this town.” And, after an extended version of “Supernatural Radio” (now with even more Benmont!), the album wraps with “French Disconnection,” an instrumental nod to the title track that’s nothing more than Petty, Campbell and Tench doing what they do best. It’ll leave you wishing these three masters and friends could play together just one more time.

Angel Dream (Songs and Music from the Motion Picture She’s The One) was produced by Rick Rubin, Tom Petty, Mike Campbell and Ryan Ulyate, mixed by Ulyate, engineered by Jim Scott, Mike Campbell and Sylvia Massey and mastered by Chris Bellman.

From progreport.com on Crash Of the Crown:

It’s a challenge that faces many bands in the genre: you have a significant, iconic back catalogue, audiences who will happily pay to attend your shows having accepted significant line up changes but… what about studio albums? This is a dilemma that Kansas, Yes and many others have faced over the last 20 years as the dynamic of the music business has morphed on account of technology and audience demands. 1984’s live album, Caught in the Act was the marker for the start of fluctuations in the life of Styx, with the 30+ years between then and 2017’s The Mission producing only 3 studio albums of original material. Perhaps that makes it surprising that such a short time later, we have Crash of the Crown, another new studio album about to be released. The Mission was easily the best album the band had produced since the 80s, so let’s see how the follow up measures up…

Well, I’ll cut to the chase: with Crash of the Crown, the band has captured the essence of their greatest musical moments and crafted a classic album that transcends these times. No, it’s not the Co-Vid album because, as the band have said, most of the writing and some of the recording was completed before lockdown. However, the key to great lyric writing is producing words with universal applicability – on that basis, I think many will find this to be an album that speaks to the times but won’t sound like a historic piece when revisited in the future.

For me, one of the strengths of The Mission was the band demonstrating that musical inventiveness and creativity doesn’t need to mean epic length tracks (the longest track here is 4:00 mins long). “The Fight Of Our Lives” kicks things off with a proggy intro of less than 30 seconds, before the magnificent signature vocals of the band kick in, declaring “We will not give in!”… and they’re off! Four part and five part harmonies are something this band takes in its stride and they standout throughout this album. Tommy Shaw’s vocals lead “A Monster”, a track where just when you think you know where it’s going, takes a left turn into a mid section powered by acoustic guitars and mandolins! Todd Sucherman gets a quick drum solo before a dive-bombing JY guitar solo takes us home. The musical inventiveness within this track that lasts for less then three and half minutes is mindblowing. Credit must go to both the band and “seventh man”, producer Will Evankovich, who himself contributes guitars, keyboards, percussion and vocals.

New boy (!) Lawrence Gowan leads “Reveries” and once again, the band’s playing, singing and full range of skills are all on display as the music segues to “Hold Back The Darkness”. With three powerful lead vocalists, the band can craft superb dynamics – an example being this song which begins with Gowan’s voice accompanied by acoustic guitar, before Tommy Shaw’s voice picks up verse 2 with a darker more melancholic edge. An unexpected guest spot from Winston Churchill launches “Save Us From Ourselves”, with Tommy Shaw sounding almost like Don Henley on this one.

The title track is the first time in their catalogue that a Styx track has featured three lead vocalists… JY’s moody baritone gives way to some furious Hammond organ, kicked into touch by a Shaw-led disco section (yes indeed!) , and a classical piano segment; Brian May style multitrack guitar follows, with a vocoder feature and Gowan conjuring memories of Mr Mercury in the final vocal piece. When you see it written down, you could conclude it’s an “everything including the kitchen sink” approach but in fact the shifts and changes in this track are perfectly executed… and they prove to be a great contrast to the more straightforward “Our Wonderful Lives” which follows. Styx with banjos works completely well in this stripped back sing/ clap along track which is as understated as the previous track was overblown – and a shout out to founder Chuck Panozzo’s bass on this one!

The second half, it feels, opens with the Moog intro to “Common Ground”, which is packed full of signature Styx elements, and is followed by “Sound The Alarm” which features some great Shaw/ Gowan duet moments. The short but inventive “Long Live The King” has entirely different sound, including a great 12-string electric guitar riff. The album itself does have an underlying concept of the light at the end of the tunnel, and the dark situations which we sometimes have to go through to reach it. So you have “Long Live The King” among the songs which touch on the more historic aspects, and the Indian-influenced “Coming Out The Otherside” being a very explicit statement of the concept.

Before the closing orchestrations of “Another Farewell”, we have a dazzling “Styx-In-A-Song” epic in “To Those”. Sucherman’s Moon-like drumming on the verse, with Gowan hitting the top of his range is a stand out album moment. The song builds to a majestic chorus and a “stand and be counted” rallying cry.

For a band approaching 50 years since formation, it’s clear that even a global lockdown, cannot hold this line up back. The fresh ideas, creative arrangements and incredible instrumentation are still coming thick and fast and I would go so far as to say this album stands as one of the very finest in their catalogue.

Also: If you liked this review of Crash Of the Crown, please see the review for ex-Styx member Dennis DeYoung‘s new album 26 East, Vol. 2.

From smh.com.au on 26 East Vol. 2:

In what is to be Dennis DeYoung’s final album – 26 East Vol 2 will not disappoint DeYoung or so those old Styx fans who still miss him as part of the band. Assuming Dennis is at peace with this being his last, one can’t help but feel a bit sad for him, having created such a fantastic repertoire of music for fans, and here it is – the Grand Finale! And a bit sad [regardless of what you think of his departure from Styx], that he ends his career not as part of the legendary band he helped create and lead for many years. Although I have not picked up everything Dennis did outside of Styx, the guy’s music holds a place for me as one of my first favorite bands whom I collected right til they split in the ’80s, and who’s lyrics usually meant something . I hope the guy has a book in his retirement plans! Having said all that, I enjoyed 26 East Vol 1 last year, but I think I just may enjoy this one a good bit more. At first I thought the cover was a bit odd, a throw back to the ’60s, but really it’s a nod to Meet The Beatles! There is plenty of reflecting in this diverse batch of tunes, and a few nods to his past with Styx, and plenty of those old Styx harmonies. The album opens with “Hello Goodbye”, and it’s a Beatles’ inspired upbeat pop number, complete with horns, and plenty of Beatles references. Sure there’s a few ballads, most notably “Your Saving Grace” and “Always Time”, which would have fit well on a classic Styx album.

Actually there are a few tracks here that wouldn’t be out of place on a Styx album, and thus will appeal greatly to those fans, like “Proof Of Heaven” which – with those harmonies and chorus remind me of the track “Pieces Of Eight”, and of course “The Isle Of Misanthrope” sees DeYoung return to those progressive Styx cuts. “There’s No Turning Back Time” is an early favorite here, starting as a ballad and going through a few changes and picking up the pace when the band kicks in, and lyrically one of a number of songs here that just may bring out an emotional reaction to those fans of DeYoung’s writing.

Aside from the opening track there is some catchy upbeat stuff, such as “Land Of The Living” [this would’ve made a fine single at one point], and the rock track “The Last Guitar Hero” [with Tom Morello of Rage Against The Machine], a song citing rock being dead due to technology, a great tune. The album ends with a revisit of “The Grand Finale”, so wonderfully put on here, as it caps off more than just another album.

Such a great set of songs, varied, touching on everything DeYoung was best known for in Styx. Fans will appreciate it, as he kinda returns home [minus the band] on this album. Very much looking forward to getting the gatefold vinyl LP, opening it up. putting it on the record player, and enjoying it as I did with those old Styx albums decades ago.

Also: see the review for 26 East, Vol. 1.

From distortedsoundmag.com on Mammoth Wvh:

Legacy can be a difficult thing to live up to at the best of times in music, and perhaps no musician in modern times knows that more than Wolfgang Van Halen, son of the late all-time guitar hero Eddie Van Halen. Best known to rock fans for his stints on bass in the final incarnation of VAN HALEN at the age of just fifteen, as well as later on with TREMONTI, the musical prowess of the now-30 year old has never really been in doubt, but it still comes as somewhat of a surprise that we’ve never heard what he can do on his own terms; until now. With a mantle adapted from the earliest days of the band that would later become VAN HALEN, we now find Wolf set to take on the world for the first time in his career as a solo artist with MAMMOTH WVH. 

Of course, arguably the main talking point about Mammoth WVH as a debut album is that every single note on every single instrument is played by Wolfgang himself. Whilst his aforementioned bass exploits are well documented, here we find the polymathic musician not only taking up lead vocals and guitar duties, but also returning to his first love of drums – making Mammoth WVH a solo project in the very truest sense of the term, barring a little help from famed rock producer Michael ‘Elvis’ Baskette once more following their previous collaboration on TREMONTI albums Cauterize and Dust.

It goes without saying naturally, none of that would matter if Wolf couldn’t play each role to an exceptional degree, but play like hell he sure can. Straddling everything from arena-ready US radio hard-rock on the likes of Horribly Right, Don’t Back Down and Resolve (the latter song in particular sharing a certain kinship to SHINEDOWN über-hit Second Chance in the way it soars), to electronic-tinged balladry that possibly wouldn’t sound out of place on the next IMAGINE DRAGONS album on Circles, there’s a real sense of a musician simply exploring as many of his influences as possible across the 13 tracks that make up this album (plus one bonus track, but more on that in a second).

Sadly this leads to arguably the main criticism that has to be levelled at Mammoth WVH as an album though – the length of the thing. Clocking in at just a touch under an hour, and dragging in a few different places, the record simply could have stood to lose at least a track or two, purely to prevent the fatigue that sets in by the time listeners reach its final gambit.

And what a final gambit it is too. As the final strains of de-facto album closer Stone fade, there’s one more surprise to come though, and it’s the song that started it all for MAMMOTH WVH in the public eye. Written prior to his father’s passing, Distance is arguably the perfect coda to Wolf’s first outing as a solo artist, a cathartic and heart-wrenching ballad that sees a young man openly trying coming to terms with the sad inevitability of his father’s passing that, while incredibly difficult to listen to on an emotional level, might well be the greatest triumph of this album.

It may have been a long time coming, but MAMMOTH WVH marks an incredibly promising new chapter in the career of Wolfgang Van Halen, and more than showcases what this young veteran is capable of, packed to bursting as it is with both powerful hook-filled rock songs that already sound tailor-made for the stadiums MAMMOTH WVH will soon be playing alongside GUNS N’ ROSES, and with interesting more-experimental diversions into softer territory that may yet find a wider audience outside of the norm. Either way though, this is a perhaps-expectedly solid debut from a project we can only begin to imagine what comes next for.

From spirit.rocks on Out Of This World:

Kayak formed in Hilversum (Netherlands) in 1972, keyboard player Ton Scherpenzeel and drummer Pim Koopman friends who committed themselves to writing original material. With loads of melodic, symphonic songs in their pocket they recruited fellow music conservatory student Max Werner (vocals) and Johan Slager (guitar). After bass player Cees van Leeuwen joined, the first line-up was complete and they were signed by EMI Records. Debut album “See See The Sun” (1973) featured a minor hit single , “Lyrics”, with “Mammoth” and the title track also reaching the top 40. The album sold well in Holland, earning critical acclaim and a fanbase.

After a series of successful albums and several hit singles in their homeland they were on the verge of an international breakthrough in 1977 when the single “Want you to be Mine”, from “Starlight Dancer” achieved chart success in the U.S, peaking at #55 in the Billboard Charts. Band line-up changes prevented a follow-up American tour. Adverts were placed in the Melody Maker and Edward Reekers became new front man, adding two female singers on their 6th album, the award winning ‘Phantom of the Night’, which turned out to be their commercial peak. The blend of progressive rock and immaculate pop brought them success, number one on the charts, platinum status and “Ruthless Queen” their highest charting single. The next album, ‘Periscope Life’ (1980), was similar in style and consolidated their position as one of Holland’s most popular bands.

‘Merlin’ (1981), saw Kayak return to its original progressive and symphonic rock roots, with a suite about the legendary medieval magician on side one. Many music fans considered this a milestone in the band’s career but personal and musical struggles within the band led to a break up in 1982 after the release of the semi-live album “Eyewitness”.

Fast forward to 2006 and ‘Kayakoustic’, presenting the now seven-piece band in an intimate setting. After an 18 year pause they were back with the strong symphonic crossover album ‘Close to the Fire’ (2000), Pim Koopman on drums and Max Werner on vocals. Unfortunately, ill health forced Max to leave, with ex-Vandenberg singer Bert Heerink taking over. Three studio albums were recorded with Heerink including the rock operas ‘Merlin – Bard of the Unseen’ and ‘Nostradamus – The Fate of Man’, their most ambitious efforts yet. The rock operas, dominated by longer, prog-based compositions, showed Kayak’s theatrical side with an extended cast of singers and dancers contributing to an impressive first rate live experience. It also marked the return of Edward Reekers and introduced Cindy Oudshoorn as first female lead singer.

2008 saw their 35th anniversary and a large tour with ‘The Anniversary Box’, a DVD containing the Paradiso concert as well as a collection of fan chosen tracks released. The tragic, unexpected death of drummer and composer Pim Koopman one year later in the middle of the ‘Letters From Utopia’ tour almost led to KAYAK’s end, but two years later the group re- emerged with Hans Eijkenaar on drums and the album ‘Anywhere But Here’, dedicated to Koopman. After a period of two years preparation, the new rock opera ‘Cleopatra – The Crown of Isis’ was released in 2014. Shortly before the tour, lead singers Reekers and Oudshoorn unexpectedly and inconveniently announced their departure but in 2018 the band were back with a vengeance and with ‘Seventeen’. The new line up, with only Ton as remaining member, now consisted of singer Bart Schwertmann, guitarist/singer Marcel Singor, and bass player Kristoffer Gildenlöw (Pain of Salvation). Drummer Collin Leijenaar played with the band on the tour but not album and later that same year Collin was replaced by the returning Hans Eijkenaar.

And so this is “Out Of This World”, the band’s eighteenth studio album, 15 new tracks spanning 70 minutes of energetic and incredibly diverse material – though still very much recognizable as Kayak. Yet more ups and downs, with energy gained through Eijkenaar rejoining, a brief pause as Ton Scherpenzeel suffered a heart attack at the end of 2019, and then came the you-know-what…pandemic.

Besides main vocalist Bart Schwertmann this new album also features no less than three other lead singers. Schwertmann is on most of the tracks, Marcel Singor is lead on three songs, and Kristoffer Gildenlöw and Ton Scherpenzeel both have one song to offer. Drummer Hans Eijkenaar debuts as composer and frankly the band sound extremely tight, together, balanced and motivated. As Scherpenzeel puts it: “This band hosts so much talent, it would be silly not to use what we can….All songs get the best possible interpretation. What luxury! It also shows what kind of a band we are. A rare combination of great talents and teamplayers.”

If you are like me and have a broad musical palette that embraces progressive-rock but also a melodic and almost AOR side, one that embraces big melodic and anthemic gestures, you’ll like this. If you delight in musical talent but also the song itself, particularly those with compositional cleverness built in, you’ll like this. Overall I can’t help but think of the likes of Camel when I hear this. You’ll like that too.

With such a variety, there’ll be something for everyone to enjoy. You’ll get lots of references – A.C.T/Trans Siberian Orchestra (‘Out of this World’). You’ll get nice blended combis – Camel/Pain of Salvation (‘Under a Scar’). Or direct likenesses such as the instrumental ‘Kaja’ – Camel. ‘Mystery’ has Moon Safari elements for me. Or the Toto-ish ‘Traitor’s Gate’. Or ever so slightly ELO/Beatles ‘Distance to Your Heart’. Or even the Arena-like ‘Red Rag to a Bull’. You get the idea.

You cannot fail to be impressed at their chameleonic abilities, from tight rockers, thoughtful ballads and compact art-rock pieces, all created and delivered with overblown but not overplayed bombast and an instrumental prog-rock swagger they let loose at times. It is a great cross-genre listen that doesn’t jar, but gels. ‘Waiting’ or ‘As the Crow Flies’ have such infectious grooves and tunes, it’s difficult to dislike these art-pop tendencies. ‘Critical Mass’ is a seven minute progstravaganza, ‘A Writer’s Tale’ nine minutes of majestic prog enjoyment. ‘The Way She Said Goodbye’ and ‘One by One’ are such out and out epic ballads, they can’t be faulted.

With such a tight band, and such top-notch performances, it can sometimes be forgotten to give credit where credit is due, and credit is due to the whole band, but I’d like to single out the crafsmanship of the songwriters providing the performances of Ton Scherpenzeel (Keys) and Marcel Singor (Guitar) plenty of opportunity to shine. And also for their songwriting ability to recognise when to hold back and when to let loose. This is a gorgeous union of classic, progressive and straight-forward, hook-laden rock, ridiculously melodic, well constructed and produced, the myriad mix of keyboard and guitar interplay matched with immensely enjoyable tunes and choruses. If you are missing new music from maestro Latimer, then this band’s Camel-esque tendencies will surely appeal.

From riffmagazine.com on A Few Stars Apart:

It’s fascinating to see legendary musicians’ children follow in their parents’ footsteps, some bringing their own voices to the craft, others diverging from the path their parents blazed altogether. Willie Nelson’s son Lukas Nelson has spent his adult life carving out his own place in the world of country and rock music.

Promise of the Real, formed in 2008, has released five albums, toured with Neil Young since 2015 and even collaborated with Bradley Cooper and Lady Gaga on the soundtrack for “A Star is Born.” Sixth studio album A Few Stars Apart, originally planned for 2020, is a body of work that continues to blend country and rock with an array of well-written stories.

Inspired by the grinding halt of the pandemic, the album was first promoted with “Perennial Bloom (Back To You)” starting over just a single guitar strum. Quickly building to incorporate an array of guitars and percussion, the lyrics tell of flowers that bloom far after the warm weather ends. Lukas Nelson mentions someone that passes and smiles without a mask, likely both a direct COVID-19 reference and an observation of the disguises people display on first impression.

On “Throwin’ Away Your Love,” Nelson’s marbly voice sounds so much like his father’s that it’s hard not to ignore. On others, he sounds much less distinct. Lyrically luscious and flowing with cadence, the song begins with the lines, “Time wasted, again and again/ Criminal intentions, I sense/ A deeply rooted network of/ Confusion in my brain, my pain is/ So very elementary.” Lyrics like this are abundant and ground the album with a foundation of effective storytelling.

The album straddles a space between the genres of country and rock well, showing how versatility runs in the family. To hear the elder Nelson’s skillfulness, listen to his recent collection of Frank Sinatra covers. A Few Stars Apart has tracks that could  could find a home in either space. When compiled together they create both a nostalgic and modern take on the genre’s sounds.

On the title track, there are pianos layered throughout, and heavy chords lead the song before Nelson’s vocals come in strong. “We’re just a few stars apart/ Every night you can see my heart/ Shinin’ like a big white diamond in the sky,” he sings. He wrote the song the night a friend passed away. The entire album is dedicated to her.

Lyrical and thematic tropes of country music are no surprise. Songs about women, beer and trucks are expected from the Nashville machine, but fortunately, some artists like Nelson are able to avoid those clichés while still situating themselves in the genre.

As mainstream country is increasingly tone-deaf toward movements like Black Lives Matter and #MeToo, there’s just a different tone to Nelson’s style, supporting causes from HIV and AIDS activism to services for those with developmental disabilities and an ever-growing list of organic farms and community gardens around the U.S.

On country tune “Leave ‘em Behind,” Nelson calls for women to know their worth in relationships. “Beautiful face, I see your eye/ Black and blue don’t make good colors on/ Your salvation does rely/ Don’t let your man take everything,” he sings. He reminds her to rely on friends for support, and that there’s no excuse for any lies or abuse.

A light piano tinkles ever so slightly at the beginning of “More Than We Can Handle” before a swinging beat kicks in and a country jam ensues. It’s a simple track about nothing more than love and faith in God and relationship.

On the final track, “Smile,” Nelson sings accompanied by a lone piano until after the chorus, where the band joins in. Their instruments remain pull back enough to keep the track mellow and intimate. “I swam against a river/ I never trusted any shore/ Now I float beneath the sun/ In sweet surrender, like a child/ I think of you,” he sings.

Legacy and talent make up A Few Stars Apart, so there’s no reason not to listen.